The biggest issue is that in breaking it up, all the attacca's are lost. You have that conflicting fermata and attacca at the end of most songs, and most peformances take the fermata and leave the attacca behind. I only saw it done once the way Orff wrote it, with the attaccas honored, and it was an opera director from Berlin who conducted it at the Hollywood Bowl. The momentum he builds up toward the end fails when you emphasize the fermatas. That orgasmic "Dulcissima" with its cadenza doesn't work if you stop just before it.
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